Closing the apertures down increases sharpness to f/5.6-8. The Sigma performs best in the middle of the range and isn’t too far behind the Canon at 50mm, even in the outer third of the image field, but overall, it’s outshone by both. The acutance profile below shows the sharpness profile of the three lenses at their longest focal length and at f/2.8. Sharpness levels aren’t far behind the Tamron or the Canon across the frame, but it falls away still in the corners.Īstigmatism is also an issue at 70mm, where sharpness levels have fallen well below the Canon and even a little behind the Tamron. When comparing this lens’s results to those of its predecessor, we can see that Sigma has improved sharpness in the outer third of the frame, particularly when wide-open at f/2.8 across the focal range, but it’s not quite so convincing when comparing this model against rivals. We detected astigmatism (where the horizontal and vertical acutance lines aren’t always close) at 24mm in the central two-thirds of the image. You can see the results for the Nikon mount version of this lens compared to the original Sigma 24-70mm IF EX DG HSM lens and the stabilized Nikon AF-S Nikkor 24-70mm f/2.8E ED VR here. We tested all three lenses on the full-frame 50MP Canon EOS 5DS R to make the results directly comparable. In this section, we’re going to compare the Sigma lens with the Tamron SP 24-70mm f/2.8 Di VC USD lens and the Canon EF 24-70mm f/2.8 L USM II. This is a little unexpected, given what we’ve come to expect from the Art series. However, its overall score of 30 puts it slightly behind the similarly-priced Tamron SP 24-70mm f/2.8 Di VC USD from 2012 and the Tokina AT-X 24-70 F2.8 PRO FX from 2014. Unsurprisingly, then, the Sigma isn’t a match for the highly-rated Canon EF 24-70mm f/2.8 L USM II, which is significantly sharper and has superior transmission and similarly low levels of chromatic aberration. The Sigma 24-70mm f/2.8 DG OS HSM A is very close in performance to its principal rivals. Image quality compared to its competitors It achieved the best results in the middle of the zoom range between the 35 and 50mm focal lengths. Although it has better edge sharpness wide-open, levels are restricted at 24mm on account of some astigmatism, and it’s noticeable again at 70mm, where sharpness falls off anyway. Our results show that it has much lower lateral chromatic aberration however, the sharpness of Art series lens is slightly lower than the previous model overall. With an overall score of 30 on a 50MP Canon EOS 5DS R body, the Sigma 24-70mm f/2.8 DG OS HSM A improves slightly upon its predecessor, the non-stabilized Sigma 24-70mm f/2.8 IF EX DG HSM. Available in Canon EF, Nikon F(FX), and Sigma (SA) mounts.The company also claims that they have also adopted high-grade, large-diameter aspherical lens elements to reduce aberrations while at the same time paying close attention to the shape of the bokeh.Īt 107.6 x 88 mm (4.2 x 3.49 in) and 1.02 kg (36 oz), however, this Art series version is quite a bit bigger and heavier than the EX model it replaces, which measures 95 x 89 mm (3.73 x 3.5 in) and weighs 0.79 kg (27.87 oz). The lens thus has 19 elements arranged in 14 groups, with 3 low-dispersion elements to reduce chromatic aberration. Sigma says it also updated the optical construction to meet the uncompromising demands of modern, high- pixel-count sensors. Sigma introduced the Art version (A) of its 24-70mm f/2.8 lens in February 2017, bringing with it the familiar if somewhat subdued cosmetic design of the company’s Art series models, along with optical image stabilization so as to keep up with its rivals.

Sigma 24 70 2.8 sony review